I regret that I am involved with the Matanya difficulties. For me it is much
more than mere "offensiveness" or freedom of expression.
For years I have had to withstand a barrage of the most outrageous lies from
Matanya, attempting to damage my personal and professional reputation. He has
long had an unsavory reputation for such behavior. (See www.tecla.com/reply.htm
and www.tecla.com/reply2.htm)
I am not alone in being the target for his viciousness.
Virtually every time he posts something involving me it will contain deliberate
falsehoods. I usually ignore him.
Such utterances are libelous, and libel is not protected speech. (Lies + Malice
= Libel/Slander) I regret this has become a censorship issue, although I do
not know the reasons for Matanya's removal from this list.
For example this exchange with Arthur Fossum, a student of the late Charles
Jacobs:
AF>Anyone want to discuss my old musicology professor's transcription of El
AF>Maestro? ( Charles Jacobs)
MO>>Now you did it! Charles Jacobs was Arthur's main nemesis and by
MO>>admitting some connection to him, you instantly placed yourself in
MO>>Arthur's sights. May be now he will lay off of me....
Charles is another of my departed NYU classmates (I lost three just this year).
We shared a professional interest in lute scholarship, and spoke by telephone
several times each year Our discussions would sometimes last for an hour or
more. In two of his last publications he acknowledged my assistance.
He has never had an unkind word for me or my work.
I think it is particularly cruel for Matanya to characterize Jacobs as my "main
nemesis." It is a LIE, and an obvious attempt to be divisive, and characterize
me as combative. It is an attmept to make it appear that Charles did not
approve of my work. That is a lie.
But Matanya? It is Matanya who has had ugly things to say about Charles's
work. This is typical behaviour. By accusing others of wrong-doing, he
projects a self image of being without sin.
He has libeled Chaarles Jacobs as well, when he wrote
<quote>The major scholars involved ... Jacobs, have not produced any
major works since [1973]<unquote>
On the contrary Jacobs produced quite a bit. Any one of these critical editions
could be considered a "major work":
Chansons publ. LeRoy & Ballard (1981),
Spanish Renaissance songs (1984),
Keyboard music of Ammerbach (1984),
Complete works of Cabezon (1976),
Frescobaldi (1983).
Aruaxo (1973),
Valente (1973)
As well as his well-known Milan edition (1971).
Lute works Melchior Newsidler (1990??)
He also authored a monograph on tempo notation in 16th century music.
And in the JLSA is an article on editing lute music, one which Ophee
ignores in his recent "article" on the subject.
ajn
----- Original Message -----
From: [EMAIL PROTECTED]
To: [EMAIL PROTECTED] ; [email protected]
Sent: Saturday, August 27, 2005 2:51 AM
Subject: [LUTE] Re: to Matanya Ophee
In a message dated 8/26/2005 5:09:47 PM Pacific Daylight Time,
[EMAIL PROTECTED] writes:
Since you have made it clear that your main purpose in posting
to the lute mail list is to harass someone, I am taking measures
block your posts to this list.
Wayne Cripps
Lute mail list manager
Censorship is more offensive than offensive letters.
Sincerely,
James Edwards
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